This the full table of contents from Cinema Scope Magazine #66. We post selected articles from each issue on the site which you can read for free using the links below. This is only possible with support from our subscribers, so please consider a subscription to the magazine, or  the instant digital download version. 


Interviews

Era Extraña: Lewis Klahr on Sixty Six  by Jordan Cronk

The Only Luxury: An Interview with Ted Fendt by Dan Sullivan

Features

If This Were a Personality School, We’d All Have Trouble Getting Out of Kindergarten : Jerry Lewis’ 90th Birthday by Christopher Small

Field Studies: Mark Lewis’ Invention by Michael Sicinski

Star Wars: Laura Poitras’ Astro Noise by Jerry White

True Colours: On Margaret Honda’s Style by Phil Coldiron

Imagining Disaster: The Videos of Calum Walter by Samuel La France

Uniquely American Symptoms: The Manchurian Candidate by Adam Nayman

*Last Action Hero: Jason Statham Plays It Straight by Christoph Huber

“Elaine-less”: Elaine May’s American Masters: Mike Nichols by Sean Rogers

Wang Bing Films Souls: On Ta’ang and Other Recent Work by Shelly Kraicer

 Columns

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Editor’s Note

Deaths of Cinema – Metteur en scène: Jacques Rivette, 1928–2016 by Matías Piñeiro

Film/Art- A Film/Art Hypothesis: Philippe Parreno at HangarBiccoca by Andréa Picard

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View: Tom Palazzolo’s Love It / Leave It by Chuck Stephens

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Spotlight: Festivals

Berlin by Celluloid Liberation Front

Sundance by Blake Williams

Sundance/Rotterdam – Operation Avalanche By Alicia Fletcher

Rotterdam – A Cinema of the Margins: The Curious Case of Claudio Caligari  by Ruben Demasure

Currency

Hail, Caesar! By Max Nelson

Embrace of the Serpent By Angelo Muredda

The Witch By Jason Anderson

Il Solengo By Jay Kuehner

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From the Magazine

  • Cinema Scope 83 Table of Contents

    Interviews *DAU. Diary & Dialogue. Part One: A Living World, by Jordan Cronk The Land Demands Your Effort: C.W Winter (and Anders Edström) on The More →

  • The Land Demands Your Effort: C.W Winter (and Anders Edström) on The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)

    Though the process of watching the onset of life’s end yields gut-wrenching moments, some recorded, some reconstructed, it makes little sense to extract one scene from the whole picture, as the film’s ultimate strength lies in its refusal to privilege, well, anything: an image of a tree means as much as a visit to an onsen, three people walking in the dark, a farmer hoeing her land, or a black screen with no image at all, only an intricately composed soundscape (as the quote introducing the film reads, “Until the moment you are dead you can still hear”). Make no mistake: though mortality is front and centre, this is a salute to the possibilities provided by cinema, a celebration of life. More →

  • DAU. Diary & Dialogue. Part One: A Living World

    At the press conference for the premiere of DAU. Natasha at this year’s Berlinale, director Ilya Khrzhanovsky pre-empted questions regarding the controversial methods involved in the realization of his 14-year passion project—collectively known as DAU—by contrasting the experiences of his actors with the everyday lives of their Soviet-era characters. “All the feelings [depicted in the film] are real,” he said, “but the circumstances are not real in which these feelings happen. More →

  • The Math of Love Triangles: Athina Rachel Tsangari’s Trigonometry

    The most arresting image in the new BBC Studios series Trigonometry (airing in the US this summer on HBO Max and in Canada on CBC Gem) comes in the fifth episode, when restaurateur Gemma (Thalissa Teixeira), in the middle of a difficult Nordic honeymoon getaway with her new husband Kieran (Gary Carr), goes on an evening field trip to see the Northern Lights. As Kieran sulks back at the hotel, she gazes up at a display that imbues the uncanny sensation—for the character, as well as the audience—of a planetarium-show special effect despite its you-are-there authenticity. More →

  • In Search of the Female Gaze

    The trope of a woman removing her glasses to suddenly reveal her great beauty is as familiar as it is eye-roll-inducing. She never looks that different, but her status as an erotic object changes immediately and immensely. A classic example is Dorothy Malone as a bookstore clerk in The Big Sleep (1946), but more recently there is Rachel Leigh Cook descending the stairs to the saccharine sounds of “Kiss Me” in She’s All That (1999). Give up your active gaze, this convention seems to say, and you will be alluring. More →